Clean Feed Records, based in Lisbon, was founded in 2001. It was born from an urgent need to change the “grey” Portuguese jazz scene and to release the most creative international artists. From the first, Clean Feed set out on a mission to record unsuspected music by recording Portuguese and foreign musicians in separate or cooperative projects
The label’s goal was to use the whole world as its operating ground, taking advantage of the internet revolution and the increasing global music market.
A good part of the label Clean Feed’s catalogue features musicians from the Big Apple. Nothing more natural, knowing that Manhattan is still the centre of the jazz world. And what a big world it is, covering several continents. Clean Feed is based in the other side of the Atlantic Ocean, namely in Lisbon, the first big city to be crossed when the plane enters European land. Usually, the flight goes to other places, but truth is jazz found here an obligatory stop. The quantity of jazz musicians including Portugal in their tours is increasing, and the number of festivals organized in this country is sufficient indication that Portuguese people love this music in a very special way. The fact that some critics voted Clean Feed as one of the top 5 jazz and improvised music international labels is a sign of this particularity. Something we wouldn’t believe possible only ten years ago.
After the success of the first edition of the Clean Feed Fest in Brooklyn, last year, the Portuguese team responsible for the edition of almost 90 albums of the best contemporary jazz, until this date — it will be 100 at the end of the year —, is back to NY for a second run. Like before, the program reunites some of the best performers around, jazzmen with a vision of the future combined with a strong sense of tradition and history. Only two criteria were used for the present choices: the superior quality of the musicians and the diversity of the projects. This is the best you can hear right now in New York or anywhere.
>From September 20th to 23rd the Cornelia Street Cafe will be the place to meet the new jazz trends, and you’ll certainly feel the spirit that drives Lisbonners to these sounds full of soul and energy. It’s time to party, in the place where everything started to happen.
Thu Sep 20, 8:30PM CLEAN FEED NYC FEST II - DAY ONE
(Patrick Brennan Trio; Patrick Brennan, alto saxophone; Lisle Ellis, bass; Bern Nix, guitar; Alípio C Neto Quartet; Alípio C Neto, tenor & soprano saxophone; Roy Campbell, trumpet; Ken Filiano, bass; Michael TA Thompson, soundrythium percussionist)
8:30PM Patrick Brennan’s Present Personic
A couple of months after the release of “muhheankuntuk”, the new opus of his 29 year old project sonic openings under pressure, patrick brennan debuts another ensemble in the Clean Feed Fest: a trio with bassist Lisle Ellis and guitarist Bern Nix. No drums on sight, but a conceptually similar vision of what the saxophonist calls “metagroove”, describing this as “a dense intersection of divergent trajectories and split-second close interaction”. Both musicians have had previous colaborations with Brennan: Ellis recorded with him the 1998 duo CD, “Saunters, Walks and Ambles”, and Nix was present in the 1983 album “Molten Opposites”. They’re top figures of present day creative jazz, Lisle Ellis with a CV that puts him in the companionship of the likes of Paul Plimley, Joe McPhee, Cecil Taylor, Marilyn Crispell and Dave Douglas, among many others, and Bern Nix coming from Ornette Coleman’s Prime Time Band and a trajectory made with John Zorn, Jemeel Moondoc, James Chance, Jayne Cortez and Kip Hanrahan. Inscribing himself in a lineage formed by the jazz stylists Duke Ellington, Thelonious Monk, Charles Mingus, Ornette Coleman, Sam Rivers and Henry Threadgill, brennan is, more than a performer-improviser conscious of the importance of the collective factor, a composer for improvisers, thinking in terms of orchestration, and that not only in front of a piece of paper but also in a real time concert situation.
9:30PM Alípio C Neto Quartet
Born in Pernambuco, Brazil, saxophonist Alípio C. Neto moved to Portugal to study for a doctorate in literature. But as he continued his work on poetics (Chinese poetry included) and philology he maintain a special attention to music. Legendary multi-instrumentalist and composer Hermeto Pascoal was one of his teachers, and like him, Neto isn’t an orthodox player. The mentor and soul of several bands, like IMI Kollektief, Wishful Thinking and DIGGIN’, Neto has played or still plays regularly with top musicians of the international scene such, as Alex Maguire and Mark Sanders of Britain, Carlos “Zíngaro” of Portugal, Torbjorn Zetterberg and Joakim Rolandson of Sweden, and Americans Scott Fields, Adam Lane, and Herb Robertson.
The Alípio C. Neto Quartet’s upcoming Clean Feed recording “The Perfume Comes before the Flower” features Herb Robertson (trumpet), Ken Filiano (bass), and Michael TA Thompson (drums). For this festival performance Roy Campbell replaces Herb Robertson. Campbell is one of the New York avant-jazz scene’s finest. This former Yusef Lateef pupil has become a key player of the free renaissance that is centered on musicians such as William Parker, Hamid Drake, Daniel Carter, David S. Ware, and others. Filiano is a virtuoso bassist whose exploratory bow work is especially innovative. And Thompson is an extraordinarily flexible percussionist, capable of creating magic in any context. All of these skills are vital to expressing Neto’s credo: that music must always be transcendental.
Fri Sep 21, 9:00PM CLEAN FEED NYC FEST II - DAY TWO
(Russ Lossing Metal Rat; Russ Lossing, piano; Mat Manieri, violin; Sean Conly, bass; Ravish Momin’s Trio Tarana; Brandon Terzic, oud; Sam Bardfeld, violin; Ravish Momin, percussion; and, Adam Lane’s Full Throttle Orchestra - see lineup below)
9:00PM - Russ Lossing Metal Rat
Crossing a lonely path where we already found Paul Bley but few others, Russ Lossing clearly prefers nuance to power, even if he does have the drive. With violinist / violist Mat Maneri and bassist Sean Conly replacing Mark Dresser (what a responsibility!), like in the album “Metal Rat” we’re not going to listen to some “chamber jazz” or “third stream”, but jazz with an extra dimension, well supported in the modern and contemporary piano tradition as much as in the jazz piano history. With classical background and an interest for all things avant garde, Lossing combines in his music, like no other pianist and bandleader, both mainstream and open forms. It’s a marvel to see and hear him deconstructing his favourite Monk tunes, playing the inside of the piano directly with his fingers. Maneri is the best choice possible for the front melodic voice of this trio. Adapting serialist techniques to jazz, and using instruments like a baritone violin, an electric six-strings violin or a five-strings viola, here is another very distinctive musician, with a personal style and new ideas rooted in the tradition. Finally, Conly, a superior double bass player, is in high demand in the progressive scene playing with Anthony Coleman, Michael Attias and Tony Malaby as well as with legends such as Freddie Hubbard, Ray Barretto, Andrew Hill, James Moody, Cedar Walton and Lew Tabackin.
10:00PM - Ravish Momin’s Trio Tarana
This is a new Tarana. The trio here includes violinist Sam Bardfeld and oud player Brandon Terzic occupying Jason Kao Hwang’s and Shanir Ezra Blumenkranz’s seats on the earlier “Climbing the Banyan Tree.” Tanya Kalmanovitch guests on viola on one track. Although changes in personnel inevitable lead to differences in the music, there is a constant: the project leader is percussionist Ravish Momin, expressing his flavor of “world jazz” with Oriental, Middle Eastern, and African motives and free bop stylings in a chamber-like configuration. It’s not the exotic as a gimmick, but the expression of the “global village” apparent in today’s reality, as experienced in the United States, where many cultures mix or at least coexist. A former pupil of jazz drummers Andrew Cyrille and Bob Moses, Momin has also studied North Indian classical music, and the two traditions are equally present in everything he plays, not crystallized in fixed forms, but as a platform for a continuous search of new musical parameters. He is aware of the pitfalls of eclecticism, but he also believes that if the roots are strong, the direction will be steady. And indeed the roots are solid on this CD. They may feel unfamiliar, but at the same time the music inside has elements you’ll immediately recognize, even if you’re not sure of the source. This equilibrium between new and traditional is no easy task, but it fulfils a purpose: to connect new sound combinations with the vocabularies of our ancestors.
11:00PM - Adam Lane’s Full Throttle Orchestra
Nate Wooley, Taylor Ho Bynum, trumpets; Avram Fefer, Michael Attias, David Bindman, reeds; Reut Regev, Tim Vaughn, trombones; Adam Lane, bass; Igal Foni, drums
Adam Lane is doing some magic. The bassist, composer and arranger is taking the big band format in jazz some steps beyond, and truth is there’s not much happening nowadays in this field. Even the best examples of good orchestral work follow the same old patterns, without adding anything really new to what was done before. The Full Throttle Orchestra is an exception. Lane has Duke Ellington and Charles Mingus as references for his work, but not to reproduce their ideas and solutions, as many others simply do. For him, the large ensemble music of the two masters are seeds for a different crop in what concerns creativity, giving a future to a music genre that almost can’t move with the weight of its past. That’s his magic and its not a common feature. The fact that we can find some ingredients of classical contemporary music and of rock in the pieces he composes and conducts aren’t sufficient explanations for the difference — that’s only for flavour, fulfilling the nature of jazz to include in its corpus all the sounds crossing its way. Essentially, he brings a change in attitude. Without making a fuss about it, Adam Lane is reinventing the jazz orchestra format, and he does it with a very special and fruitful competence. To help him achieve the ambitioned “multi-dimensional sonic qualities” we find trumpeters Nate Wooley and Taylor Ho Bynum, someone like the saxophonist Michael Attias and five performers more taken from the first ranks in the American progressive jazz scene. With musicians like these, we can only expect a blast.
Sat Sep 22, 9:00PM CLEAN FEED NYC FEST II - DAY THREE
(Gerry Hemingway Quartet; Ron Horton, trumpet; Ellery Eskelin, tenor saxophone; Mark Helias, bass; Gerry Hemingway, drums; Free Range Rats: Eric Hipp, tenor saxophone; John Carlson, trumpet & pocket trumpet; Shawn McGloin, bass; George Schuller, drums; plus, Michaël Attias Quintet: Twines of Colesion - see lineup below)
9:00PM - Gerry Hemingway Quartet
Over the years since the quartet’s inception ten years ago, the brass chair has had many visitors engage in the interpretive challenges and wide improvisational pallette of Gerry Hemingway’s music. The primary trombonist has been Ray Anderson and primary trumpeter has been Herb Robertson (for more detail of the quartet history please visit http:// www.gerryhemingway.com/quartet.html), however on Clean Feed’s upcoming festival at Cornelia St. the quartet will enjoy the well seasoned contributions of trumpeter Ron Horton (who has appeared on Clean Feed’s trio releases of Will Holshouser). He will be joined by saxophonist Ellery Eskelin and bassist Mark Helias, both of whom have had long tenures with the quartet and other ongoing projects of Gerry Hemingway. The quartet will mostly present music from the latest Clean Feed release “The Whimbler”. These compositions are what it’s composer calls “integrative”, meaning that the improvised elements of music bear a constant relationship to the compositions Hemingway has written. “I want the listener to feel as if they have experienced an individual musical world in each work presented; where spontaneous invention develops within the frames of the notated composition, offering a coherence akin to a short story” states Hemingway. The music has a distinct and memorable lyricism but also an intellectual and orchestrational depth that reminds us of Hemingway’s long tenure with Anthony Braxton (with whom he just recorded a 4 cd duo). The members of his quartet carry equally impressive CV’s in the cutting edge of the music of our time. Not to be missed!!
10:00PM - Free Range Rat
Free Range Rat has been scurrying beneath the New York underground music scene for the past 10 years. As a follow up to last year’s critically acclaimed release of Nut Club, this elastic free-blowing quartet will join its fellow label constituents to celebrate the label’s 2nd Annual Clean Feed Jazz Festival. With Eric Hipp on tenor sax; John Carlson on trumpets, Shawn McGloin on bass, and George Schuller on drums and bells, Free Range Rat plays “cosmosonic jazz” paying homage to those rich traditions of improvisational music including conceptual nods to Sun Ra, James Blood Ulmer, Bob Marley, Ornette Coleman, Parliament Funkadelic as well as new works from members of the band.
11:00PM - Michaël Attias Quintet: Twines of Colesion
Michaël Attias, alto & baritone saxophone;Tony Malaby, tenor & soprano saxophone; Russ Lossing, piano; John Hebert, bass; Nasheet Waits drums
With Tony Malaby, Russ Lossing, John Hebert and special guest Nasheet Waits, the new Michaël Attias Quintet brings together five musicians who’ve evolved, over the years and in a wide variety of situations, a powerful and original approach to intertwining rhythm, color, line and sound. Twines of Colesion sings the song of a very special and risky sort of molecular paradise. Here is a band you can’t miss…
Sun Sep 23, 8:30PM CLEAN FEED NYC FEST II - DAY FOUR
(Thomson Kneeland, bass; Ethan Winogrand, drums; Rob Brown Trio; Rob Brown, alto saxophone; Danniel Levin, cello; Satoshi Takeishi, percussion; Ethan Winogrand Quartet; Steven Bernstein, trumpet; Ross Bonadonna, guitar)
8:30PM - Ethan Winogrand Quartet
Who would’ve predicted that the drummer of the punk band Joe Cool, one of the regular groups playing at the legendary CBGB’s at the end of the Seventies along with Talking Heads, Television and The Ramones, would become a big name in the progressive jazz scene? And who could guess in those times that Ethan Winogrand would firm his name under the Elvin Jones drumming lineage? But that’s true, and we heard it in “Tangled Tango”, a Clean Feed release. With guitarrist Ross Bonadonna (in fact, a multi-instrumentalist, also playing bass and a number of reed instruments) he has a long-running and very fruitful colaboration, but the Ethan Winogrand Quartet sound only established itself definitely with the add of Steven Bernstein, master of the slide trumpet, Tzadik habitué, leader of Sex Mob and the Millennial Territory Orchestra, former member of Lounge Lizards and one third of Spanish Fly. The bassist in this concert will be Thomson Kneeland, a musician equally at ease in swing, free jazz, 20th century chamber music and Balkan folk. As you might suspect, the music played by these guys is present day jazz with elements of diversified origins. Rich, compelling and frequently surprising, only concerned with one thing: to tell you something you can find important.
9:30PM - Rob Brown Trio
After a free jazz investment for many years, now something entirely different. Avant-garde? Composer / improviser Rob Brown says it’s an irrelevant categorization nowadays. Instead of the conventional sax-bass-drums combo of post-bop and free jazz, here is an alternative combination of alto saxophone with a cello (Daniel Levin) and Japanese taiko percussion (Satoshi Takeishi), for a quieter, more open, exotic and abstract music performance than the ones usually labelled as jazz. Abstract, we said? Not always: they can use folk melodies from very far away (listen to “Tibetan Folk Song”, in their “Sounds” album), and the traditional format of a ballad, even if not played with the most remarcable fidelity. But the “new thing” convictions of Mr. Brown are still there, a reflection of his cumplicity with the likes of William Parker, Matthew Shipp, Joe Morris and Whit Dickey, present day heirs of the music born in the Sixties and Seventies. Against a musical logic runned by the “short attention spans” of urban life, Rob Brown needs time to construct his ideas in a solo, and doing so he’s convincing enough to invite us to join him in the jump. With a little help from his friends, of course, Levin capable of the most astonishing subtilities but also being hard and aggressive when needed, and Takeishi giving us a completely different perspective on metrics and pulsation, and at the same time showing us that the creation of a texture has nothing to do with gimmicks.
CORNELIA STREET CAFÉ
29 Cornelia Street, NYC, New York
between West 4th and Bleecker Sts, Greenwich Village
1 Subway to Sheridan Square; A, C, E, B, D, V, F to West 4th St.
Clean Feed Records: www.cleanfeed-records.com